In the press, some subjects often come back. And one of them is the average wage in the country. At the end of 2015, for example, one could read on jobat.be. “The Belgian earns on average 3200 € gross per month”. Even more recently, in December 2016, one of the most read sites in French-speaking Belgium had the following headline: “Here is the average income of the Belgians: 1473 € net per month”. As a statistician, such articles are a real scourge to me. They are often very short, drafted and give the reader a biased picture of the real wage situation in the country. These press articles are sometimes closer to misinformation than to information. What I’m going to do with Albert in the video of the day is explaining how to properly do things.

To begin with, Albert, we will represent all the employees by this blue ball. This ball contains 100% of the country’s full-time employees. Let us now draw a horizontal axis representing the gross wages and standards of all these employees for the year 2014 according to the figures officially provided by the Belgian authorities in 2016. The result that we face is that which statisticians call a “distribution”. Thanks to this distribution, what is happening in the country is now of a formidable clarity. The majority of employees, a little less than 80%, is between 1750 and 4130 € gross.

The typical employee in 2014 was therefore the one whose gross wage falls between these two bounds. And here Albert, it was not so difficult, anyway? And yet in the press, one sees very rarely appear the distribution of wages, not to say never! Instead, the reader is served a profound illustrative image, make your games, the choices are: rain of notes on employee; Bundle of notes elegantly arranged passing from one hand to the other; Or pay slip accompanied by his austere calculator. And the winner of the day is … rain of tickets on employee!

Once the journalist’s writing has been completed, there is usually only one thing left for the distribution of wages: his average. And this is the problem … how can one hope to capture something as complex as a distribution by a single number? As if this were not enough, the average is also a very inappropriate statistical measure to summarize a wage distribution. To better understand this, let’s take an example. Albert and his best friends are very productive little cats. They hunt butterflies outdoors in summer, spill lots of stuff from January to December, regurgitate hairballs, in short, they are enthusiastic workers who love work well done.

For his services, let’s say that Albert received a gross of 2500 € per month in 2014. While Oscar was at 2600, Marine at 3000, Max at 3100 and Emilie at 6500. With their salaries from 2500 to 3100 €. Albert, Oscar, Marine and Max clearly formed a homogeneous group of which Emilie with its 6500 € was not a part. If we calculate the average salary from Albert to Max, we get an average of 2800 €. Although none of the 4 affected cats earned this wage in 2014, all are fairly close to this value, and someone who would attempt to summarize the situation of the four cats by this average would not be mistaken. Let us now add Emilie’s salary to the problem. If we calculate the average salary of the five small cats, we now get … 3540 €.

An average salary very different from the 2,800 € obtained a few moments ago! This new average salary reflects very poorly what Albert, Oscar, Navy and Max are gaining since they are all four below this new average of 440 at even 1040 € in the case of Albert. The image obtained from all small cats via this new average does not satisfactorily stick to reality. The same phenomenon occurs with wages in Belgium and in most countries of the world. The existence of a minority of employees with high incomes leads to a contamination of the average, drawing it towards a value that is ultimately not representative of the bulk of the employees. In Belgium in 2014, the average gross salary was thus € 3414 a salary that two thirds of the employees actually did not reach. If we want to correctly summarize a distribution, we must at least compute the quintiles.

The idea is to divide the employees into five blocks of 20%. Thus, in 2014, 20% of employees earned less than € 2440 per month, 20% were between 2440 and 2800, 20% between 2800 and 3209, etc., as shown on the screen. The quintiles have the four values below the axis that can be numbered from the smallest to the largest. Together, the quintiles summarize the distribution of wages in a much richer and satisfactory way than the average. And they can be used to easily situate their own salary in relation to the rest of the employees. So, Albert, with your fictitious salary (like this is everywhere the same: P] of 2500 € in 2014, you fall between the 1st and the 2nd quintile. 20% of employees at least earned less than you and 60% at least earned more

A more sophisticated version of all this consists of dividing the employees not in 5 coarse blocks of 20%, but in 10 finer blocks of 10%. The result is as follows. The values under the axis from 2220 to 5178 are no longer called the quintiles, but the deciles, and there are 9 in all. The 5th decile, whose value is 2976, is somewhat peculiar. It divides all employees into two blocks of 50%. You probably know him, Albert, under the name of median. 50% of employees in the country earned less than € 2976 in 2014 and 50% earned more.

If I do the exercise of locating Albert’s salary on the basis of the deciles, I find that with 2500 €, it falls between the 2nd and 3rd decile. So there are at least 20% of people earning less in 2014 and at least 70% earning more. Finger pointing systematically to those who use the average to summarize a wage distribution would be a mistake. After all, it still makes sense to note that, for example, the average wage in the small town of Dinant was 73% of the average wage in Antwerp and only 66% of the average wage in Brussels.

Or that the average wage of a full-time woman in 2014 was only 94% of that of a man. Or that someone working in the restaurant sector earns on average 57% of that working in the pharmaceutical industry, and only 47% of that working in the petrochemical industry. Retiens, Albert, that dissecting the wage situation in the country is a very complex task. But if you have understood what I have told you today, my hope is that you will be able to deal with the press articles on the subject with a little less credulity than in the past. This video is the second to have received partial funding through our fans. If you also want to support Albert and help him to live more adventures, go to tipeee.com/amisdalbert [And yes! The croquettes is not free!] Thank you for having looked at us and very soon for a next video.

A quick six minute skit from French TV, and the French curse like crazy, so please be aware that you’re going to learn more than you may wish to…this video is part of the Studio Bagel collection, which you may want to subscribe to on YouTube.

Hello, this is Cyprien. A few days ago I was offered to go to the Vélib in Paris to do the Vélib, no but it is a trick completely naze the Vélib. It’s a Parisian thing that, I’m an ego I’m not a fan of the vélib. Until I come across this video. Ah bah agree the I want to do Vélib. Yes, OK … I am even motivated. Except that it is still necessary to take a vélib.

Choose your subscription typeChoose your subscription periodValidate Terms of UsePay 150 Euro of depositEnter the code of your credit cardChoose a code to remove your bikeValidate this codeTake your ticketChoosing the removal of a VélibType the code to remove her bikeValidate by SMSPass the retinal scannerResponding to an enigma

I barely exaggerate … .have to validate two SMSs, and once you finally have your vélib you can use this magnificent invention of modern man. The bike path that I recall is used by two types of people. The cyclists and the people who walk on it, who you c **** because they come in WHY there are people walking on it. Yet it is indicated. What do people think when they walk on the bike path? She is nice this little alley there is nobody on it. People c *** to walk next door. Look what this logo looks like a b ***. It is not just the pedestrians that you take on the bike path. There are also badly parked cars. And what I prefer is the other cyclists who drive in the opposite direction. Yes because there are senses on the bike paths is indicated. Is that what the guys think at that time? Ah it is nice this bike path. What’s this logo? They made a biker upside down. That they are c ***. In addition it looks like a b ***. When you do not take, pedestrians, cars or other cyclists in the ***** when you think you are safe. It’s the trail that begins to scare you. At one point I had to use a track. I swear to you that passed between the way of the cars and the way for the buses ie the most dangerous place in the world the guy who had this idea had to hate the cyclists. Good listen to the guys I had an idea when it is more or put this bike trail of m **** we put it between the buses and the cars like that when these bleros of cyclists will avoid a car on the left They get crushed by a bus then? It’s Gift Stop. But hey, miracle I’m still alive the people I used to do with the vélib also if you ride a bike, with someone who goes slower than you. A little advice, put you behind Aurélie? Aurélie? I never saw her again. Continue to join my facebook page. You are more and more numerous Even though I know that the people are profiles created by my mother to make me stop mummy. Finally do not continue please and while you go on my blog to see all my other videos me I will sit a bit after a good day of vélib with a saddle that hurts very badly.

And I would like to introduce you today, to a little fragment of a very important novel of the early 18th century which is the story of Gil Blas of Sentillane by Alain-René Lesage, an author of the early 18th century, the first half of the 18th century, and I present here the first paragraph of the first chapter of the first book of Gil Blas de Santillane which appeared in 1715.

What we have here is an examination, a study of the various elements that make up a prose text. Then of course we have the title, this is the official title of the story of Gil Blas. The word “histoire” in the title, that tells us right away that this is a novel.

Then we have the name of the author and these dates. We have a chapter heading – or a chapter title – that is: the first book, and the first chapter. The word “book” also indicates the title of the novel is a novel, it’s a work of fiction.

The subtitle of the chapter “From the birth of Gil Blas and his education.” Here it is the author who speaks, he is not the hero, who is also the narrator. For example, we note the possessive pronoun “his” education, the birth of Gil Blas, it is something in the third person, and it is the author who speaks directly to the reader.

And we pass immediately to the narration in the first person. We see for example the possessive adjective “my”, “Blas Santillane, father” and he gives us, the narrator is giving us his ancestry but in a a very succinct manner, very abbreviated.

We know that Blas has borne arms for the service of the King of Spain and he is retired. And well now, what about the mother? We do not even know the name of his mother. We just know that she is a petty bourgeois who is no longer young who gave birth to Gil Blas ten months after the wedding, so in a way quite normal, quite orthodox.

He then spoke of the house of his parents. They are living in a town in Northern Spain called Oviedo, and he quickly gives the business from his parents. His mother was a maid and his father a squire. A squire is a man who takes care of the horses in a stable.

So these are humble people, they are not Noble, they are not even wealthy merchants. We note a consequence. Gil Blas, like these parents, has no fortune except for salaries, the wages he earns, so there is a possible consequence that the young Gil Blas might not get education which is obviously a huge disadvantage.

Fortunately, fortunately, Gil Blas we have said that he has in the city an Uncle who is a Canon. A Canon is a Priest who occupies a sizeable place in a Cathedral, and therefore he has a certain income and also some education.

We see immediately that this Canon Gil Perez, is not a great scholar. And the narrator will address it immediately to the reader, instead of just saying that he was Gil Perez, he asks the reader to make an effort of imagination: “Picture a small man a height of three and a half feet with an extraordinarily large head, buried in both shoulders.”

In a few words, a few pencil lines, so to speak, the narrator / hero essentially depicts a caricature: a small man, three feet and a half in height, he is a little more than a meter high, which is very difficult to imagine, with a very big head sunk between his shoulders.

That already gives us a comic impression of this Canon. Is he represented as a Holy man, a man who is pious, who only thinks of his eternal salvation? Not at all! He said: to remain he was a clergyman who thought only of living well, that is to say, to make merry.

We see immediately that this Priest, the Uncle of Gil Blas is a man who loves food but is not particularly pious, who do not particularly thinking of holy things or to say Mass and so on, we know that it is because he has a Canon stipend. A stipend, this is the money that gets a priest to live.

He had a good stipend that allowed him to eat well. I still have the same text in front of me but here we will see how many secondary characters are presented in this small paragraph, except of course the hero / narrator, that is to say, Gil Blas.

We first have the father. Blas of Santillane. Then his mother, the mother of Gil Blas, who is a small bourgeois, someone not so very important in the social scale; and finally Gil Perez, a Canon … who is his Uncle.

In addition to the main character who tells the story we have three secondary characters that are important in the life of the main character for various reasons. And so the author, Lesage, imagine these characters; they are not true, they have no real existence, and they are not based on people having existed, they all come from the imagination of the author.

And the author is talking of someone else, that is to say the main character is, for the moment, which is not represented in the process of acting, of going, of coming, of speaking. He is simply there to tell a story instead of the author. That’s how we can think of many novels beginning.

There are other ways to start a story. For example a narrative that begins in action, it’s called in “medias res”, which is a Latin expression meaning “in the middle of things.” Here the narrative does not begin in the middle of things but tells a little history, parents, people who came before the birth of the narrator, is it not.

And so we have a way to start a prose narrative. There are many others but this one is quite legitimate and above all quite common. When we read a text, it was obvious that this text was written by an author.

It is also clear that the author often talk about someone who is not him, who is not … If we take the case of an author like Stendhal, an author of the early 19th century, he will not tell you, “I am Stendhal and I will describe the town of Verrières”.

He speaks, he hides behind a character that he has no reality but is called the narrator. The character who tells the story even if the author does not give him a name, we know who he is because the narrator tells the story. And then we have three elements, if you want.

We have the author, the narrator, and the reader, or the female reader. These three elements are formed by contract or covenant, which is called the reading pact. That is to say that when I read a text I have to accept certain things: that there is an author, that there is a narrator, and of course I am the reader.

It is very difficult for someone who reads a text saying “I’m not the reader” or “this text has no author”, “the narrator does not exist”. There is therefore a kind of contract between these three elements, author, narrator, reader.

Like I had spoken of the narrative in the first person, giving the example of the first paragraph of the first book of the first chapter of the first book of Gil Blas, I presented a fairly quick way, that this is the narration in the first person.

This is a very effective method to bring the narrator of the reader. Since the reader has the impression that the narrator speaks to him. Since the narrator uses the “I”, and when we use “I” there is a “you” who is listening or watching or bed So, basically, the author asks the reader to pretend to believe that the narrator is real.

It is not of course to say “yes, the narrator is real, you have to believe that under penalty of death,” just pretending to believe that this narrator speaks to you and is real. The theorist Gyorgy Lukacs, who has written a very important book called “The Theory of the Novel,” that’s what Gyorgy Lukacs called irony. Why they say irony?

Because the narrator is not real but you have to pretend to believe he is real, I can imagine a kind of hierarchy. Then there is the real author, the author in the flesh, so to speak, who is speaking of the hero, or the narrator, or the hero / narrator, the narrator and the hero himself who is quoted as if he is the hero and the narrator, like in the narration of the first person, and also secondary characters.

If the narrator speaks in the third person, as in many novels of the 19th century, but the 18th and 17th century there was the main character who acts, speaks, then you have two sets of speech. The narrator, who may or may not be the hero, says “I”, “I”, “I”.

If he is not the hero, he must say to his main character “I”, “I”, “I” … That is to say he must speak to tell the story, basically. We can create in our minds a sense of distance. If the narrator or the hero / narrator and the main character give us the impression that he is close to us, this creates a close distance.

Whereas if the narrator, or the main character, speaks of distant countries or remote times, he creates a far emotional distance between the reader and the characters, or the hero / narrator. One can, for example, take the example of painting. If the painter portrays a character or a distant landscape, he creates an emotional distance, psychological, distant.

The same occurs in the novel. If instead the painter shows us a character we could practically touch with a finger, this creates a close distance and certainly a closer distance is closer for our emotional reaction to be stronger. It is easier to sympathize or dislike someone we see, we feel, we imagine very close to us, as opposed to someone who is very far from us.

Of course all the narratives in the narrative prose fiction are not in the first person. There are a tremendous amount in the third person. The author may be present. As we have seen in the subtitle of the first chapter of the first book of Gil Blas, which is “From the birth of Gil Blas and his education.”

Obviously this can only be the author who speaks like that. Neither the father of Gil Blas, neither the mother nor Uncle Gil, Gil Blas Perez nor himself as it is in the third person. The author who is the real author, who is called the empirical author, creates a narrator and the narrator creates the story. The author may also create a narrator, who creates a character, that’s the story in the third person, who speaks, he is not, that is, the one who falls in love, traveling, eating, fighting, all kinds of conceivable actions.

Let me conclude by showing you a small fragment of the first chapter of a tale of Voltaire. A tale entitled “Voyage of an inhabitant of the world of the star Sirius in the planet Saturn.” It is the subtitle of the first chapter. This is not a novel but a pretty little tale entitled “Micromegas”, which in Greek means “little big”.

It is a word game of Voltaire. I begin by reading the first paragraph. “In one of those planets revolving around the star named Sirius, there was a young man of great intelligence,” This sentence is in fact what is called a diegetic speech, that is to say, the discourse relates exactly to the story itself, the actions, the facts.

And then I see: “I had the honor to know in the last trip he made on our small planet”; Here there is an “I” – I HAVE had the honor to know, in a trip that was on OUR small planet “; It means that the author is directly involved in the narration in the text. That is called an intervention of the author.

Then I’ll see the first small paragraph that says “I had the honor to know in the last journey he made on our … He was called Micromegas” – that’s the diegetic narration – “a name that strongly suits his height. He was eight leagues tall;. I mean eight leagues 24000 geometrical paces of five feet each. “

When the author says something, he is not the story, it is an explanation or comment. This is what I call the extra-diegetic speech. So I have this little paragraph of four lines of three kinds of discourse. The diegetic speech, the intervention of the author, and the extra-diegetic speech.

And we find this way of organizing a narrative in huge numbers … in a very large number of texts. I can increase the volume of my narrative by increasing the volume of extra-diegetic speech by making all sorts of comments that should be pertinent, that is to say in English “relevant”, otherwise it is meaningless and it not worth reading.

Hello and welcome to this lesson dedicated to the play “Tartuffe” in the 17th century written by Molière in 1664. In this lesson we will talk about the piece and we will also talk about the staging of the play “Tartuffe”.

It is important when studying theater to remember that the written text, the text published, the play, it is only one aspect of what a play, a play is a performance, a staging with a performance venue, a theater, with a stage director, who makes staging choices, chooses the décor, costumes, and directs the actors.

These staging aspects influence how one interprets the room. We will study the text and we will also study different stagings that were filmed in the room to compare. Before talking about the staging, a note on the piece itself.

“Tartuffe” is called a comedy of manners. Manners are the social behaviors. A comedy of manners, so this is a play that portrays social behavior, social behavior here of the Catholic bourgeois family of the 17th century.

It is also a portrait of a historic cultural phenomenon that belongs to the Catholic France of the 17th century. At that time in France there is a party called the party of devotees who seek to impose the influence of the Catholic church in Rome on morals of his contemporaries.

At that time there was a religious dissension between the Catholic Church of Rome and the so-called reform. Families, the King, the King’s court, goes to dissociate, to find independence from the Catholic church in Rome. So the party of devotees form a company called Company of the Blessed Sacrament, which sends devout religious men to monitor the habits, behaviors of middle-class families.

“Tartuffe” is precisely the history of this character, Tartuffe, who is a devout and who will break into a family, the family of Orgon, a bourgeois family, to try to impose his views on customs and religion of the family.

But in truth Tartuffe is false devotee. He pretends to be a saint to serve its own interests, which are getting the hand of the daughter of Orgon, called Mariane, Mariane married and get the money and the house of Orgon. Tartuffe is a hypocrite character, an impostor, who under the guise of being a devotee, a saint, will seek to serve its interests and about to divide the family of Orgon.

The room is open to several interpretations and several plays but the room also has a very strong structure because it’s classic comedy and classic comedy has its own conventions. In particular, the classic comedy with a very conventional and fixed narrative structure.

The narrative structure of comedy, it unfolds in four stages: exposure, where complications, or crises, and or resolutions. First exposure. The first part of the play exposes introduces the characters and exposes the plot node, that is to say what will be a conflict, which will represent the plot.

The plot is simple. It’s Tartuffe enters the family by posing as a saint and winning the admiration blinded Orgon, the father, and will seek to marry Mariane, daughter of Orgon. Mariane obviously does not want to marry Tartuffe, who is old, who is ugly, a hypocrite, a wicked man, she wants to marry Valere.

Valere is his lover, Valere is reciprocally in love with Mariane. But Tartuffe creates a conflict, a node, since it prevents the marriage. And the family of Orgon, except Orgon, Mariane will try to help escape a doom that awaits him. So that’s the plot node.

After the plot node and complicated because a complication called this complication and it comes from the son of Orgon’s brother Mariane therefore, that an unfortunate gesture. This son, his name Damis, he realizes that Tartuffe truth not only wants to marry Mariane but he wants to seduce Elmire, Orgon’s wife and therefore his own mother.

He is completely outraged by it he decided to tell his father Orgon, “listens” “Tartuffe, the man you believe to be a saint” “tries to seduce my mother, your wife.” And Orgon is so blinded by the admiration he has for Tartuffe that it refuses to believe his son Damis and to prove that his son was wrong, and that his family was wrong, he decided to intensify the generosity that Its Tartufffe and give all his money and all his house to Tartuffe and give the hand of his daughter Mariane to Tartuffe that evening!

The gesture of Damis was an unfortunate consequence, a complication, since it precipitates the crisis situation in which find themselves Mariane and Elmire and the whole family of Orgon. This crisis is a first resolution. The resolution is permitted by a scheme developed by Elmire, Orgon’s wife, who will decide to find a way to show her husband Orgon that Tartuffe trying to seduce her.

She asks Orgon to hide under the table while Tartuffe will try to seduce her. And it will use tricks to push Tartuffe to seduce while her husband under the table meant any conversation. And so this ploy leads to a resolution as Orgon finally realizes the deception Tartuffe.

This resolution is not the final resolution of the room because in truth there is another complication: Orgon has already given all his money and his house in Tartuffe Tartuffe and now wants to expel the family of Orgon of his own house; but this second crisis is resolved by another resolution, the final resolution of the piece: the Prince the son of the King of France, comes into the room to denounce the imposture of Tartuffe and make the house and property to the family of Orgon, and that’s the end of the piece.

This traditional structure imposes some form of narration and also requires some form of characterization of characters. The characters in this play are theatrical type. It means the characters whose behaviors are set.

They may not have a very deep psychology that’s just kind of theater that everyone knows and which we expect a certain behavior. For example, there Orgon. Orgon is the type of authoritarian father who always wants to be right and who is ready to commit the worst nonsense to prove he’s right.

This is also the character of voluntary cuckold. A cuckold is a vulgar word to say we made a mistake, that his wife deceives us with someone else, there is one cuckold horns. But cuckold is voluntary because it encourages his wife to deceive him, he will not believe that Tartuffe trying to seduce his wife and his wife has to go very far in seduction Tartuffe offers him to show her husband he is a cuckold. So it is a voluntary cuckold. This is a very conventional and fixed theatrical type.

Another theatrical type, Dorine, Mariane’s maid. The servant, she is always tricky and spiritual in this kind of classic comedy. It will seek to thwart the schemes of Tartuffe, and is always trying to challenge with humor and irony with the authority of the father figure Orgon.

Another theatrical type, Mariane itself that is the type called the ingenue. The ingenuous it is a naive girl who is innocent and who always obeys his father. These types theater in the classic comedy also impose the piece of conventional scenes, scenes that everyone expected.

For example, the scene of the heartache we will study between Marianne and her lover Valere. In this scene of heartache Mariane, who is innocent, and some orgueuilleuse, does not want to publicly admit his love for Valere, and Valere which is also very young and innocent and a little orgueuilleux does not want to confess his love for Mariane.

So they love but they do not want to say. So they may be lost by pride, spite. This is the scene of love despite based on traditional theatrical type. Another scene is the scene where Orgon just hid under the table and voluntary witness of infidelity while his wife is ready to commit with Tartuffe.

All these scenes are classic comedy scenes which are fixed, which are stereotyped, imposed by the structure of the piece by piece theatrical types. All these types theater, this conventional structure, these conventional scenes require a fairly rigid framework for the interpretation of the part.

For example, Tartuffe is a wicked hypocrite Tartuffe and critical piece. It is a traditional interpretation, conventional, imposed by the piece as it was written in the 17th century. And when we read Molière’s play at home, when you read “Le Tartuffe” is nice to recognize these types theatrical curiosity for cultural productions of the 17th century, for the language of Molière, etc.

But if you are a director and you want to represent this piece for a contemporary audience that is not enough. We need to find to update, to make present, to make it interesting this piece for a contemporary audience. And so the directors are forced to make choices to refresh the room.

Staging choices that include the choice of decor, the choice of costume and choice of acting. For example, the stage director Ariane Mnouchkine established a staging of the play “Tartuffe” in 1995, which gives new meaning to this piece by changing costumes and sets.

Rather than using costumes, to reconstruct the costumes and scenery of the Catholic bourgeois family of the 17th century French, she chose to use the sets and costumes of a contemporary Muslim family in a country in North Africa

Tartuffe and therefore is no longer a Catholic devotee of the 17th century, a Muslim fundamentalist in the context of contemporary Muslim countries of North Africa. By changing the set and costumes, Ariane Mnouchkine redefines contemporary feel to the room.

One can also give a different meaning to the part, update the room by simply working the actors. This was done in 1950 the director Louis Jouvet, who chose to completely transform the interpretation of the play by proposing a game that player revealed a psychological depth to the character of Tartuffe.

In the staging of Louis Jouvet the character of Tartuffe is not just a caricature hypocrite and impostor. It is indeed a tragic figure, tortured by his love for a woman younger than him and he knows he can never win favor.

It is a tortured character, divided, complex, melancholy, and ultimately very touching. And in this scene where Tartuffe is not the bad guy, he’s a villain, but a villain we love, we suddenly asks questions about the motives of the other characters in the play who are trying to thwart, d prevent the love of Tartuffe.

And one wonders if Tartuffe has a legitimate love for Mariane or Elmire, what are the motivations of the other characters? Perhaps the other characters who are kind normally become wicked, or at least characters who themselves have a certain hypocrisy, who themselves want to serve selfish interests.

And so all the characters in the play gain a psychological depth, beyond the theatrical types imposed by the classic comedy. Just working on the acting, that is to say on the movement of actors, gestures of the actors, to the rhythm of their words and the tone of their voice, we can give a new interpretation to a piece.

We will study two recent stage set, not very new, but the second part of the 20th century, which were conducted by Marcel Carvenne the first, which was mounted in 1971, and the second by Jacques Charon, which was mounted in 1973 French comedy theater.

Both stagings were filmed and so we have the chance to study them, in particular, and compare them. And we must ask how these stagings offer different interpretations of the play, and will have to observe, analyze, interpret and compare, not only the text but also directed and implemented in particular the leadership of acting by these two directors, that is to say, the tone of voice actors, their gestures, the rhythm of their words, and their movement on the stage.

Hello and welcome to this lesson dedicated to the poetry of Ronsard, poet of the 16th century, especially the poems of Ronsard that belong to the collection of poems called “The Romance”, which was written in 1552.

Then Ronsard wrote poems that depict a character, “I,” the pronoun “I”. It has been said that in general we call ‘I’ in a text, the narrator. But the peculiarity of the poetry of Ronsard, is that “I” narrator talks about his emotions, especially his love for another character a woman, Cassandra.

And this “I”, this character, who speaks of his love poetry, you do not call the narrator, has a different name, it is called the lyrical subject. “Lyrical” why? Because he sings poetry feelings. While the feature of this poetry collection is the number: “The Loves”.

It is not singular is plural. Why the title “Love” in the plural, while the love object of lyrical subject is a woman, Cassandra? That’s an interesting question. A peculiarity of love in this style of poetry, lyric poetry, lyric love poetry is that this love is not realized.

It’s a frustrated love, an ideal love, somehow or platonic, if you will, which is never realized and which therefore provokes the lyrical subject a feeling of languor. Languor, is the desire for an object that you can not possess.

[Note: Languorous refers to a certain kind of mood everyone gets in sometimes — when you’d rather lie around thinking than doing work or having fun. When you’re languorous, you’re tired and maybe a little depressed.]

“The Loves” These are poems about the feeling of love languor, a languorous love. Ronsard borrows this kind of love lyric to another Italian poet preceding Petrarch. And it also borrows the Petrarch sonnet form.

The first two stanzas each have 4 to. We call these verses quatrains. And the last two stanzas each have three verses, and these are called stanzas of triplets. So what a sonnet is a poem of fourteen lines, consisting of two quatrains and two triplets.

This structure helps to read the poem. So we’ll see for example in this poem called: “These gold links, this red mouth”, which belongs to the collection “Les Amours”. The first quatrain, I’m reading now: “These gold links, this red mouth Full of lilies, roses and carnations, and these corals chastely vermeillets, á And this plays like the Dawn”

In the first quatrain, one has a description, the description of Cassandra, the beloved by the lyrical subject. This description is made of comparisons, analogies, metaphors, between parts of the face Cassandra and different objects.

For example, “gold links.” What is the “golden link”? Links that are the son’s. And gold is the color yellow. So yellow son, it’s the hair. Hair Cassandra, who is blond, and are probably curly, and who make links, links course where the lyrical subject prisoner because he is in love.

The “red mouth” is a description of the color pink (crimson is pink) from the mouth. Full of lilies, roses and carnations.” So why the mouth and full of flowers? These flowers are pink flowers such as pink, or white, like the lilies or carnations.

This is a comparison. The carnation and lily, are the white teeth are in the mouth of Cassandra. And the rose, one can think that it is the language, for example. So it is a metaphor that describes the mouth of Cassandra. “And these chastely vermeillets corals,” Corals you know what these are plants that live under the sea, which have a white color.

But here are some vermeillets corals, slightly pink. So one can imagine that it is the color of Cassandra facial skin is white and slightly pink. Chastely rose. Why “chastely” Pink? Because the face blushed with modesty and shyness.

It is a chaste character, shy. And finally “This plays like the dawn;” This is a comparison between the color pink cheeks, and the pink color of the dawn. So all these comparisons are comparisons that are borrowed from the vocabulary of love lyric poetry of Petrarch.

It is therefore a first quatrain that focuses on the face of Cassandra, the beloved object. Move into the second stanza. “These hands, neck, forehead and it that way, and this within the verdelets buttons, And the eyes of those jumelets stars, who are shaking the souls of wonder,”

The look of the lyric subject Descend the face to the body. Since we have hands, neck, forehead, ear. So this is not really the body but rather the look that was very close to the face at first, here he leaves and therefore we see the body and ears and forehead and breasts too, within this “vertelets the buttons”, even a comparison of the nipples, the button of the breasts, and the button flowers. “And those eyes jumelets the stars,” the eyes are compared to twin stars, “Who are shaking the souls of Wonder”.

This is a list of all the qualities of body, every part of the body of Cassandra. All these parts of the body that are subjects of grammatical subjects, the following verb. The verb that follows, the first word of the poem appears in the first tercet.

All these body parts “made love nest” “in my breast” “Who wholesale germ had a full stomach” “On untrained eggs that it incubates our blood.” So the verb “made nest.” You know as “made”, it is a simple past is the simple past tense of “to do” in the third person plural.

So these body parts did, that caused love nest in my breast. Love settles in my breast. Here “Love” has a capital letter, because that Love is a character. It is the god of antiquity Love which is often represented as a little child naked with wings and a bow.

So Love is a character. Love settles in the breast, in the heart of lyrical subject because of all these parties “made love nest in my breast.” And breast particularity, the heart of the lyrical subject is that it is in “full germ” he full stomach, it is “big germ” that is to say, full germ.

Germs that are embryos, seeds, embryos if we take an animal metaphor, seeds, if we take a vegetable metaphor. That’s very original. This is not the traditional vocabulary of Petrarch. There in the lyrical subject of Love embryos.

It’s very strange. So it can be interpreted as follows: the lyrical subject before meeting Cassandra, already had sexual thoughts, desires languorous, who were there in embryonic germ, and when he saw Cassandra, all sexual thoughts all his desires languorous hatched, grew. A way of saying that when you love, it is because first we like the idea of ​​love, and then you meet someone you can love.

Last tercet: “How shall I live otherwise than languor When I find an immortal breed of loves hatched and incubated in my heart?” The lyrical subject request: I can not live I can not live in that languor in a frustrated desire, because not only love is in my heart, but a breed d’Amours, a crowd of a Amours d’Amours generation are in my heart.

These are all germs, these embryos Amours plural that have hatched in my heart. This is a very strange image that returns us to the question why the title of the collection of his poems is “The Romance” in the plural, while there was only an object of love, Cassandra?

So this very strange picture: there are plenty of Amours in my heart. One way to interpret this question – Why Amours plural? – Is that the lyrical subject is in love not only Cassandra but all his body parts: eyes, cheek, mouth, and teeth in the mouth and tongue etc.

These are “loves” Cassandra. This is a plural love. It is a love that is lived through the plurality. Another way to interpret the plural in “The Romance” is to interpret this as a comment on poetry itself.

The poetry of Ronsard uses much repetition of certain vowels and the repetition of certain consonants to create poetic effects. For example in the verse “vermeillets, …” Ronsard repeats the consonant “ill”. In “These gold links, this red mouth Full of lilies, roses and carnations, and these corals chastely vermeillets, and this plays like the Aurora”

The repetition of his “ill” is understood in “vermeillets” in “link” in “vermeile” in “wonder”, in “such” in “Carnation”. We observe the repetition of consonants – this consonant repetition is called alliteration. – Now it should be interpreted. What is precisely the consonant “ill”, for the rule, use a large part of his tongue, sticking his tongue against his palate and use of saliva.

Somehow, the consonant “ill” is a very damp consonant, very erotic, so it is well suited to describe the eroticism of lyrical subject to Cassandra. Another example is the repetition of vowels. The repetition of vowels, it’s called an assonance. Alliteration: repetition of consonants; Assonance: Repeat vowels. An example of assonance in the tercet “How shall I live otherwise than languor When I find an immortal breed of loves hatched and incubated in my heart?”

Heuuu … Nasal “voeyelle” in French, is often used as an interjection to express boredom or complaint. So we can interpret this assonance as an illustration of the complaint, the languor of the lyrical subject.

One last example, this time of alliteration, repetition of consonants. At the same triplet, hear the repetition of consonant “v”, “j” and “z”. “How shall I live differently” “that languor,” “When I find an immortal breed” “the loves hatched and incubated in my heart?”

The peculiarity of the consonants “v”, “j” and “z” is that to deliver them, we must blow air, and also activate its vowel strings. That’s why we call these consonants fricatives consonants. Because we must blow air. How to interpret this alliteration with fricative consonants?

heuuu … The consonant fricative asks that blows air. So it’s like a sigh. A sigh often expressed languor. This alliteration can be interpreted in fricative consonants as an illustration of the languor of the lyrical subject to Cassandra.

You see that “Love” in the plural, that means body parts whose lyrical subject is love, but it also means the erotic relationship to language that Ronsard offers his reader. A report plurality, multiplicity, the repetition of certain vowels, through assonance, and certain consonants, through alliteration, create erotic in effect, an erotic relationship to language that is somehow managed, compared to erotic relationship to the object-Cassandra, the only objective, which is failed, that fails.

So when you read these poems of Ronsard, “The Loves” try to rebuild, to create this erotic relationship to language, being careful, observing alliteration, assonance and observing and looking for the interpreter.